“I promise I will put you in my eyes and give you my full love” sings the Iraqi-turned-Saudi pop singer Majid Al Mohandis. His recent song “Entebeh” (Be Careful) centers around romance, yet the poet behind the lyrics may be surprising – the writer is the same man who is seen as a prominent figure in the rise of nationalism in Saudi Arabia, and a close associate of its embattled crown prince.

With a majority youth population, Saudi Arabia has turned to new forms of communication to reach its population. One of the most influential leaders of this campaign is Turki Al Sheikh, a childhood friend of Crown Prince Mohammed bin Salman. Al Sheikh is a larger-than-life figure in the crown prince’s close inner circle. He is an advisor to the Royal Court and had been the head of the General Sports Authority until he was recently appointed the chairman of the General Entertainment Authority.

Poetry and Nationalism

Poetry is a ubiquitous part of culture in the Gulf states. Recently, a video of King Salman bin Abdulaziz in tears went viral as he and the crown prince enjoyed a poetry recital and traditional Ardah dance during a celebration ceremony. For centuries, poetry has been used to address political issues, disputes, tribalism, and nationalism. The traditional art form of Nabataean poetry has played an important role in the formation of popular songs throughout the Gulf region. Poets are held in high regard in the Gulf states – popular shows such as “Million Dollar Poet” are aired on channels such as MBC and poets often compete to have their lyrics sung by popular singers.

In early 2017, Saudi Arabia held its first large public concerts in years. The hosting of such events offering a diverse range of music is a major part of the social reforms under the entertainment agenda of Vision 2030. While playing music in public has long been a divisive topic, music from the region and beyond has always been enjoyed in the privacy of the home, including private concerts for the elite. This new opening for public performances has expanded the reach of the music industry.

Role of Songs on Policy

In June 2017, Saudi Arabia, the United Arab Emirates, Bahrain, and Egypt initiated a boycott on neighboring Qatar over a range of longstanding issues. Amid the conflict, songs went viral from prominent Gulf artists promoting the Saudi government’s position on Qatar. While Al Sheikh was outspoken across his social media pages he also took to the recording booth, commissioning the region’s most well-known singers. Among them is Abdul Majeed Abdullah, one of the most popular singers in Saudi Arabia, whose song “Min Mithlek” (Like You) was released three months ago and already has over 29 million views on his official channel. In September 2017, Rotana, the Arab world’s largest record label, released “Teach Qatar,” a song written by Al Sheikh and sung by Abdullah and six other prominent singers from the region, which supports Saudi Arabia’s viewpoint:

Our stabs are to the face not to the back
If a knot gets too big we undo it
Twenty years of [deception] conspiracy and betrayal
Conspiracy that we have known about

The use of popular singers in the context of foreign policy is not limited to the dispute with Qatar. Responding to disputes or other foreign policy debates, mainstream artists often release songs in support of their government. Popular songs are also released in conjunction with the arrival of foreign leaders to the kingdom. The track “Hayhem” (Greet Them) welcomed the U.S. delegation, boasting of Arab hospitality and singing verses in both Arabic and English during President Donald J. Trump’s official visit to Riyadh. The English lyrics echo the push to showcase Vision 2030 to Trump: “We are proud to say the future is KSA.” Such songs are accompanied by vivid music videos showcasing state visits and the crown prince and king, and almost always are sung in Saudi dialect.

Enta Malek

Perhaps the two most well-known nationalist pop songs are “Ash Salman” (Long Live Salman), sung by Abdullah and Rashed Al Majid, and “Enta Malek” (You are King), sung by Rabeh Saqer. “Ash Salman” has nearly 20 million views and “Enta Malek” has 27 million views on YouTube, just on the official artists’ channels alone. While the songs are sung at National Day celebrations, they are also widely popular throughout the streets. Such songs are the unofficial anthems of the kingdom. Saudi Arabia recently made international headlines over the dynamic concert series that accompanied the star-studded Formula E racing event held in Diriyah. The event included international artists such as Enrique Iglesias, Amr Diab, and the Black-Eyed Peas as mixed-gender crowds danced along. In one of the final concerts of the event, multiplatinum DJ David Guetta performed an electronic version of “Ash Salman.”

While many people enjoy listening to these songs, Saudi society – like any other – hosts a range of musical tastes – and musical genres. There has always been a vibrant music scene – from traditional songs to underground rap to pop. Saudi music is anything but monolithic.

While some of these songs are undoubtedly a form of propaganda, the reach of these pop-infused songs extolling nationalist sentiments is very powerful given the new policy of allowing public performances and heavy social-media penetration. Their widespread popularity is not only due to the lyrics but primarily to the sheer fame and popularity of the singers throughout the region. In almost any official national celebration, these singers are likely to be present. In a sense, the Saudi government has been successful in making it trendy to listen to nationalist music. In many ways, this is a tradition that owes much to Egypt in the 1960s when the iconic singer Oum Kalthoum added nationalist songs to her more traditional operatic music to celebrate President Gamal Abdel Nasser’s social and economic reform initiatives. While clearly addressing Egyptian themes, these songs became popular throughout the Arab world because of Kalthoum’s popularity.

The rise of nationalist songs in khaleeji pop music is not exclusive to Turki Al Sheikh’s influence. However, as a confidant of the crown prince, his influence in the music community is particularly significant. The prominence of a member of Mohammed bin Salman’s inner circle in the mainstream music scene, especially now that it has gone public, cannot be underestimated. Music is influential in any society, particularly during times of social change, and the kingdom is no exception.

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Through its careful examination of the forces shaping the evolution of Gulf societies and the new generation of emerging leaders, AGSIW facilitates a richer understanding of the role the countries in this key geostrategic region can be expected to play in the 21st century.